Content in this section centers one crucial aspect of theatremaking: the audience. How do theatremakers identify and attract the right audience for a particular work? What are the different levels of engagement, from simple spectatorship to participation? Amrita Ramanan’s 2013 series gathers thoughts from leaders in the field and is a great place to start, as are videos from Theatre Communications Group’s 2015 Audience (R)Evolution Convening.
The Latest
Podcast
Just Comfortable Enough to Get Immersive
by Martin Boross, Tara Khozein, Diana Delgado, Hope Orange
6 January 2026
Essay
Toward a Dramaturgy of Healing and Care
by Lizzie Rajchel
20 October 2025
Essay
Building Trust When Staging Others’ Intimate Stories
What makes us want to immerse, and what makes us want to flee? Tara Khozein and Martin Boross sit down with Hope Orange and Diana Delgado at q-Staff theatre in Albuquerque right after their residency and public showing of Dwelling, an immersive theatre event on the theme of home.
Series
ART/New York Fall Forum
ART/New York convenes their first Fall Forum to foster community, support collaboration, and encourage resource sharing among their members.
Kunafa and Shay focuses on Middle Eastern and North African (MENA)/Southwest Asian and North African (SWANA) theatre—highlighting classic and contemporary plays and theatremakers, spotlighting community-engaged work in the region and diaspora, and analyzing the past, present, and future of MENA/SWANA theatre in the United States.
Patty Gone explores audience engagement and the relative merit of the Q&A in conversation with Mark Ball, artistic director of the London International Festival of Theatre.
This series explores the ways various artists and companies employ the tools of interactive theatre to complicate audiences’ individualized experiences and get them thinking about their place within a community.
A series exploring the diverse relationships between theatre and community through the personal narratives and innovative methods of practice from a select group of artists and practitioners.
Seeking insight into what makes immersive theater work for an audience, Jeffrey Mosser observes three productions: How to Build a Forest, Sleep No More, and Mikhael Tara Garver's Fornicated From the Beatles.